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Siena
Early days
I've just started this page. It's my newest and needs work but it has
a fair amount of information and some useful photos, so is already of use, I think.

I'm hoping to improve the page with another visit this year (2017)
with a rumoured exhibition devoted to Ambrogio Lorenzetti being another draw.

 

Duomo & Baptistry Santa Maria Assunta

Chapel of the Madonna del Rosario

Osservanza bus ride

San Bartolomeo rarely open
San Bernardino Oratory
San Cristoforo
San Domenico
San Donato
Monte de Paschi di Siena (bank)
San Francesco

San Gaetano
San Giacinto
San Giacomo
San Giorgio
San Girolamo
San Girolamo in Campansi
San Giovannino della Staffa
San Giuseppe

San Martino
San Niccol˛ al Carmine


San Pellegrino alla Sapienza
San Pietro Chiesa Anglicana
San Pietro a Ovile
San Pietro alla Magione
San Pietro alle Scale

San Raimondo al Refugio
San Rocco Oratorio

San Sebastiano

San Vigilio

  Sant'Agnese a Vignano
Sant'Agostino
SantĺAndrea Apostolo
Sant'Ansano Carceri
Sant'Antonio da Padova Oratory
Sant'Elisabetta della Visitazione

Santa Caterina
Santa Caterina casa e santuario
Santa Caterina della Notte Oratory see Santa Maria della Scala

Santa Lucia Santi Niccol˛ e Lucia

Santa Maria dei Servi
Santa Maria della Scala Ospedale
Santa Maria delle Nevi
rarely open
Santa Maria in Portico a Fontegiusta
Santa Maria in Provenzano
Santa Maria Maddalena (Castiglione d'Orcia)


Santa Marta


Santa Petronilla
Institute of Santa Teresa

Santi Pietro e Paolo

Santi Quirico e Giulitta
Santi Vincenzo e Anastasio

Santissima Annunziata see Santa Maria della Scala Ospedale

Santo Sepolcro Oratorio
Santo Spirito
Santo Stefano alla Lizza
Santuccio Church

Duomo & Baptistry
Santa Maria Assunta

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History
As the highest point in the city this has always been an important spot, likely since the Roman temple to Minerva stood here. There's been a cathedral dedicated to the Virgin Mary here at least since the 9th century, and a bishop's palace. In December 1058 a synod was held here resulting in the election of pope Nicholas II and the deposition of the antipope Benedict X. The first documented evidence of plans to build a cathedral here date to 1136, The Siena-born Pope Alexander III is said to have consecrated the work in 1179, but it wasn't until 1258 that the overseeing of the work was entrusted to the monks of San Galgano, an abbey south west of Siena, a famously capable bunch who remained in charge until 1314.

 

By 1265 the basic work was complete and one of the monks, Fra Melano, went to Pisa to commission a pulpit from Nicola Pisano and then in 1280 Nicola's son Giovanni was employed to work on the fašade. By 1297 Giovanni had stormed off in a huff at the comune's accusations of mismanagement of funds and materials. Then in 1317 it was decided that the duomo was going to be too small an on 23rd August 1339 a new and massive structure was planned


The plan was that the existing church should become merely the transept of a much bigger building. This work was begun but cracks and errors halted the work, which resumed but was finally halted by the plague of 1348, as the population was halved and funding dried up. The remains of this extension still speak of Sienese ambition and hubris and are now used as a car park and the Museo dell' Opera. The space was filled with the Bishop's Place, removed in the 19th century, with the four large windows added in 1898.


The exterior

The gothic fašade was sort-of finished in 1377, but it was not until 1877 that the poor-quality mosaics were added in the topmost triangular pediments, with the bronze door following in 1958. The fašade is a mixture of sculpture, stained glass, mosaic and pinnacles, mostly depicting scenes and figures from the life of the Virgin, including the life of her parents, Joachim and Anna. The 14 statues of the the pagan sibyls, philosophers and prophets who foretold Christ's coming, on the second tier were carved by Giovanni Pisano. Those on the fašade are copies, the originals being now in the Museo dell'Opera, except for one, the bust of the figure of the prophet Haggai, discovered in 1963, which is in the V&A in London. The bas reliefs over the door, of 1297-1300, are by Tino di Camaino, the Sienese sculptor who would carve the Petroni monument inside the Duomo 15 years later. The 36 busts of the prophets and patriarchs around the rose window are copies by Tito Sarocchi of the 14th century originals.

 

The interior

Gothic, essentially in its vaulting and looming quality, and somewhat overwhelming when you first enter, due to the stripes and there being decorated surfaces all over. Also the crowds and the roped-off areas guiding your route. Further disappointment on my visit at the scaffolding all around the Pisano pulpit. Somewhat generic stucco busts of Popes stare down from a frieze bellow the clerestory all round the church.  A set of Twelve Apostles by Giovanni Pisano adorned columns inside. In the 18th century replacements by Giuseppe Mazzuoli replaced the originals (now in the Opera Museum). These replacements were themselves replaced by reproductions of the originals and acquired in 1895 by the Brompton Oratory in London, where they remain. The reproduction of the Pisano studio's originals are now to be found outside on the roof of the nave and right-hand aisle.

The first three paintings over the altars on the left are safely skipped, as is much of the late 16th/early 17th century painting in here. The fourth is the standout pale sculpted Altare Piccolomini (see below right) commissioned in 1491 by Cardinal Francesco Piccolomini from Lombard sculptor Andrea Bregno. The statues of Saints Gregory and Paul in the two main niches to the right and Saints Pius and Peter in the niches to left are by Michelangelo, who also started the Saint Francis in the upper left niche, finished by Pietro Torrigiani. (Torrigiani it was, according to Vasari, who busted Michelangelo's nose during a fight in the Brancacci chapel, was banished from Florence, and ended up in England, working for Henrys VII and VIII, among others.) Michelangelo's work dates to 1501/3 and was halted prematurely by his returning to Florence to carve the David. The sculpted Madonna in the central upper niche is by Jacopo della Quercia. The sweet gold-framed Madonna and Child painting in the centre is by Paolo di Giovanni Fei and is presumably a copy of the one in the Opera museum.

Further on Pintoricchio's fresco of the Coronation of Pius II is over the carving-embellished entrance to the Libreria Piccolomini, with cases contains open graduals and breviaries. The  vivid and and restored-looking ceiling and wall frescos, of c.1503, above the cases are the artist's masterpiece, executed with the help of Giacomo Pacchiarotti. The library was commissioned by Francesco Piccolomini, who was Pope Pius III for 10 days, to house the books of his uncle Aeneas Sylvius Piccolomini, who was pope Pius II and was a true, and quite rare, Renaissance man amongst the Renaissance popes. The cycle begins at the rear to the right of the window. On display are the Duomo's choir books, illustrated by Sano di Pietro, Liberale di Verona amongst other Sienese gothic artists.
Around the corner past the Libreria is the domed Capella di San Giovanni Battista, the work of Giovanni di Stefano, the son of the painter Sassetta, finished in 1482. The font (1484) (and the decorated column on the right)? are the work of Antonio Federighi, also responsible for part of the pavement and the water stoups by the entrance. The bronze stature of John the Baptist in the gilt-decorated central niche is by Donatello, made in Florence in 1457 and damaged in transit here. Dingy damaged and restored frescoes by Pinturicchio and paintings by Giovanni di Stefano.
Next is the crossing, two altars wide, and the famous pulpit by Nicola Pisano, finished in 1268, after his Pisa Baptistery pulpit, with the help of his son Giovanni and Arnolfo di Cambio. The panels, showing scenes from the Life of Christ, duplicate those on the Pisa pulpit, but are deeper and more detailed. Carrying on, to the left of the presbytery is the corner Capella di Sant'Ansano which has both the dark pavement tomb of Bishop Pecci of Grossetto (1426-7) by Donatello (shifted to the left and tilted so as to not be walked on) and the unrestrained wall tomb of Cardinal Riccardo Petroni by Tino da Camaino of 1314/18. The latter is said to have been influential on Italian tomb architecture for the next century and to have had its scenes very influenced by those on Duccio's Maesta of just a year previous. To the right above it is a tall thin stained glass window depicting full-length Saints Francis, Blaise and Anthony by Domenico Ghirlandaio and his workshop. The altarpiece in here is Saint Ansanus Baptises the People of Siena by the Sienese mannerist Francesco Vanni.

The high altar of 1352 is by Baldassare Peruzzi, the Sienese architect best known for collaborating with Raphael on the Palazzo Farnesina in Rome for the Sienese banker Agostino Chigi. The stained glass in the large round window is from a design by Duccio from 1288, making it very early for such work in Italy. It's a copy, the original now being in the Museo dell'Opera, and features a very early depiction of the Assumption. The back of the presbytery has carved stalls with intarsia panels by Fra Giovanni da Verona, famed also for his work in the church of Santa Maria in Organo in his home city. The panels were originally in the choir of the Abbey of Monteoliveto Maggiore but were brought here in 1813 and inserted into the backrests of the 14th century stalls. The frescoes above are mostly by Domenico Beccafumi and Ventura Salimbeni.
All of the following was fenced off on my visit...
The right side has thinner pickings, but there's the Capella del Sacramento nine chapels down opposite the Capella di Sant'Ansano. It has five bas reliefs probably removed from a dismantled pulpit carved by Domenico dei Cori in 1425. Nearer the main door, mirroring the position of the Capella di San Giovanni Battista opposite, is the Roman Baroque style Capella Chigi, built in 1659/62 to a design by Gian Lorenzo Bernini for Alexander VII, Fabio Chigi, a Sienese pope, it was the last major addition the Duomo's fabric. It was intended to house the Madonna del Voto, an anonymous 13th century painting. Two of the four niche statues - the ones nearest the door - are by Bernini - the Mary Magdalen and Penitent Saint Jerome, as is the gilded bronze frame for the Madonna, with its angels and putti, and the design of the railings.

The fifth altar, after four more skipable altars mirroring those opposite, from the door on the right is the Tomb of Tommaso Piccolomini, above the door to the campanile, by Neroccio di Bartolomeo Lando. Below are bas reliefs depicting episodes from the life of the Virgin by Urbano da Cortono, a collaborator with Donatello known for his Tomb of Cristoforo Felice in San Francesco in Siena.

 

The pavement

Begins with geometric patterns and some scenes outside and progresses to 56 figurative panels inside. Made between 1349 and 1547 and involving almost ever artist who worked in the city between these dates.
 

Campanile
Built in 1313, it has six bells, the oldest one being cast in 1149. It has a relief of the Madonna and Child of 1458 by Donatello over the door. He had returned to Siena in 1457 hoping to be asked to make the bronze doors, but was disappointed.
 

Lost art
The Museo dell'Opera has rooms of stuff, mostly from the Duomo. Concentrating on altarpieces...
The Maesta by Duccio (see below) painted between 1308 and 1311, was huge and double-sided. Its display spread around one room in the Museo I found functional and dull. It is said to have originally had a complicated carpentry mechanism involving curtains and three painted wooden angels who descended to hand the priest the Host, chalice and corporal (linen cloth); with four more angels holding candles. The front depicted the Madonna as the Queen of Heaven enthroned and surrounded by angles and saints. Episodes from her life were depicted in the predella, with events from her last days on the upper levels. The back depicted scenes from the life of Christ - his early life in the predella, his passion on the main level and his post-resurrection appearances above. It has been much moved and chopped about over the centuries. It was originally on the high altar but was replaced by Vecchietta's bronze tabernacle in 1505, being documented as above the Saint Sebastian altar in the left transept in 1536. In 1771 it was sawn in half - the front was placed in the Saint Ansanus chapel in the left transept and the back put in the Saint Victor chapel, with the predella and top panels put in the sacristy. In 1878 it was put back together and put in the Museo dell'Opera. The missing predella panels, which were put on the market in the 19th century, are now (one each from the front) in the National Galleries in London and Washington; with rear predella panels now in the Frick, the National Galleries in London and Washington. the Thyssen Bornemisza and the Kimbell.

Pietro Lorenzetti's Birth of the Virgin of 1342 (now in the same room as Duccio's Maesta in the Museo dell'Opera) was part of an altarpiece over the San Savino altar in the corner chapel of the left transept (the wings are lost). A predella panel from the same altarpiece is in the National Gallery.
The four panels depicting Saints Catherine of Alexandria, Benedict, Francis of Assisi and Mary Magdalene by Ambrogio Lorenzetti of 1320/30, which used to flank a, now lost, central panel, were originally on the altar of the Magi in the Duomo. Also by Ambrogio is a rather fine Presentation in the Temple which used to be in the San Crescenzio chapel here, now in the Uffizi. It was painted in 1342, the same year as his brother's Birth of the Virgin mentioned above.
An altarpiece of 1480 by Matteo di Giovanni for the chapel of Niccol˛ Cristoforo Celsi in the Duomo.
 

Lost art not in the Museo dell'Opera
The Presentation of the Virgin in the Temple altarpiece by Paolo di Giovanni Fei of 1398-1399, was commissioned for the chapel of San Pietro here, is now in the National Gallery in Washington.

The Annunciation with Saints Ansano and Massimo was painted in 1333 by Simone Martini and Lippo Memmi, his brother-in-law, for the altar of Saint Ansano here. It's now in the Uffizi, where it came in 1799 in exchange for two paintings by Luca Giordano.
The Madonna della Neve altarpiece of 1432 by Sassetta is now in the Uffizi.
 




 


 


The Baptistery
The Gothic fašade by Domenico di Agostino of 1355 was never finished

Interior
Completed c.1325, probably by Camaino di Crescenzio, it carries on the stripy and decorated look of the Duomo. Two bays long with two aisles and a half-domed apse. There's an hexagonal font of 1417-30 with eight bronze panel of scenes from the life of the Baptist by Lorenzo Ghiberti (The Baptism of Christ and The Baptist before Herod), Donatello (The Head of the Baptist Presented to Herod) and Jacopo della Quercia (The Angel Announcing the Baptist's Birth to Zaccaria ). Jacopo was also responsible for the marble tabernacle above, the summit statue of John the Baptist and five niche statues of the Prophets. Donatello also did two of the corner angels (Faith and Hope) and (with Giovanni di Turino) the small putti on the tabernacle above. There's a cast of this font in the Victoria and Albert museum in London which has all five of these putti, one having been lost from the original since the cast was made in 1875-7.
Three unmajor altarpieces to the left. In the right aisle are two gold-ground ones, a Madonna and Child with Saints (including Saint Stephen looking even more like Mickey Mouse than usual) by Andrea Vanni (taken from the church of Santo Stefano alla Lizza) and an 1896 one of The Immaculate Conception with Saints, Joseph, Anne, Paul and Elizabeth by Giuseppe Catani Chitti. Imagine a Pre-Raphaelite gold-ground altarpiece. Chitti later settled in Florence, where he met the English Pre-Raph artist John Roddam Spencer Stanhope, and was also a talented forger, of works in the style of Fra Angelico and Filippo Lippi, amongst others, and in collaboration with famed forger Federico Joni.
The fresco decoration of the ceiling and apse is mostly by Vecchietta and was painted between 1450 and 1454 (but the three impressive Passion scenes in the apse vault (Agony, Crucifixion and Lamentation) are by the Bolognese artist Michele di Matteo and finished in 1447?!)
 


 



 
 

The Crypt
A delightfully ramshackle and random trio of spaces. There's the middle fresco-fragment filled crypt itself (see right), the first, smaller, space you enter, and the first space beyond, which is without decoration but with appealing stone and brickwork and random arches. The frescoes in the crypt vary much in size, state and vividness. This space is thought to have been a narthex, maybe part of an entrance for pilgrims, but when the baptistery was built, this under-church was filled with rubble. Containing late 13th-century frescoes (probably about 1280) it was found and excavated in 1999-2003, but as the rubble was now holding up the church above a steel structure had to be built to support the marble stairs above. The frescoes are very damaged but vivid and depict scenes from the Old Testament and the life of Christ.

 

 

 

 

 

 

 

 

 

 

 

 

 

Chapel of the Madonna del Rosario

 


near porta san marco. 18th c facade long decons and now used by the chiociolla (snail) contrada as their horse house, where the horse chosen for the palio is kept for the three days before the race. This had been the contrada's oratory, until it moved to SS Pietro e Paulo, along with the art and fittings from here.

 

The Osservanza


History

Founded in 1423 by Saint Bernardino in an attempt to return to the original Franciscan rule which he thought had become corrupt in the cities. The land was given in 1404 by the hospital of Santa Maria della Scala. Buildings enlarged 1476-90, probably by Francesco di Giorgio Martini and Giacomo Cozzarell. These buildings much rebuilt after bombing in January 1944, to look how it would in the late 15th century, the mostly renaissance church has three works by Andrea della Robbiaan Annunciation pair and a Coronation of the Virgin. Also a triptych once ascribed to the Master of the Osservanza, but this anonymous master is now identified as the young Sano di Pietro. It depicts the Virgin and Child with Saints Ambrose and Jerome, is dated 1436 and was commissioned by merchant Manno di Orlando for his chapel in San Maurizio. There's a small museum here dedicated to Saint Bernardino too.



Lost art
The Dittica dell'Osservanza (see far right) by Paolo di Giovanni Fei is in the Pinacoteca. As is a cut-down Annunciation panel by Martino di Bartolommeo. Also panels by the Master of the Osservanza/Sano di Pietro, including San Bernardino and two angels.
A high altarpiece depicting the Assumption, probably commissioned by Bernardino himself, from Sassetta, which was lost in the Berlin Flakturm fire in 1945. (See b&w photo right)








 

San Bartolomeo
rarely open

San Bernardino Oratory next to San Francesco
15th century, built on the spot where Saint Bernardino preached.

Interior
The wood-panelled oratory, decorated by Ventura Tupilli (after 1496) has fourteen large frescoes of the Life of the Virgin by Sodoma (Presentation, Visitation, Assumption and Coronation), Sodoma's pupil Beccafumi (Marriage and Transition) and Girolamo del Pacchia, painted between 1496 and 1518. There's a 14th century antiphonal here illuminated by Lippo Vanni

The lower chapel has scenes from the Life of San Bernardino painted in the 17th century by Francesco Vanni, Ventura Salimbeni and Rutilio Manetti. The ceiling painting with a view of Siena, of 1580, is by Francesco Vanni. The attached Museo Diocesano consist of five small rooms containing religious art from the 13th to 17th centuries, reportedly well displayed. The collection includes works by Vecchietta, Ambrogio Lorenzetti and Matteo di Giovanni.
 

San Cristoforo

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History

A church with Romanesque (or even Roman) origins but rebuilt in 1720 with a neoclassical brick fašade added in 1800. The two statues on the fašade are Bernardo and Nera Tolomei (the impressively gothicly looming Palazzo Tolomei is opposite the church) Bernardino being the founder of the Olivetan order. The church was used for comune meetings before the building of the Palazzo Pubblico, so it was here that the Gran Consiglio made the decision to go to battle with the Florentines at Montaperti. which proved to be such a historic victory for the Sienese..

Interior
Aisleless and pale inside, due to white walls and the buff-colour columns pilasters and arches. Two altars face each other in centre of left and right walls. On the right there's a carved Crucifix with painted saint on the wall behind. On the left a dull Madonna and Child with Saints Luke and Romuald by Girolamo del Pacchia. The presbytery is a small crossing of sorts, with exposed brick suggestive of Romanesque origins.

Lost art
The Saint George altarpiece painted by Sano di Pietro in the early 1440s in remembrance of Giorgio Tolomei, now in the Diocesan museum and the Vatican.
 



 

San Domenico

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History
Founded in 1125, the church was begun in 1226, completed in 1254 and expanded in 1300. In 1467 the the huge wall that had separated the the old nave from the newer transepts was removed. Suffered fires in 1443, 1456 and 1531, with further damage from military occupation from 1548-1552, and an earthquake in 1798.

Interior
Another big aisleless barn for preaching to the masses.
The church's current dedication to Saint Catherine, whose family house was nearby, is obvious as you enter as to the right, in the back wall, is the raised Capella delle Volte, which has (in the centre of the left wall) the famous contemporary fresco portrait of the saint by Francesco Vanni. The artist had been a diplomat working for the comune but on meeting Catherine gave up his job to devote himself to being her friend and disciple. This was a separate chapel in the original church, but was knocked through in the 1941-62 restorations. It was here that she is said to have received the (invisible) stigmata and performed some of her miracles, including exchanging hearts with Jesus.

Altars of various sizes and recessions down each side of an aisleless nave. The 3rd and 5th on left have damaged frescos worth a look. In between is an impressively plush Saint Anthony Abbot Frees a Demoniac Girl (1628) by Rutilio Manetti.
The deep transept has matching monumental marble altars at each end. Three chapels either side of the apse. The middle one on the left is a highlight space with an impressive large panel of the Virgin and Child Enthroned (1270s) by Guido da Siena, still visually indebted to the Byzantine Virgin hodegetria.
The side walls were frescoed by Giuseppe Nasini in the 17th century.
The chapel nearest the apse has a detached fresco of the Madonna and Child with a Knight and John the Baptist by Pietro Lorenzetti. On the wall opposite in the transept is a Crucifixion (1600) by Ventura Salimbeni, son of Arcangelo and step-brother of Francesco Vanni.

The square apse has jarring modern stained glass windows by Bruno Cassinari, behind a marble tabernacle with two sculpted candelabra angels by Benedetto da Maiano, the architect/sculptor also responsible for the Plazzo Strozzi and the pulpit in Santa Croce, both in Florence.
The first chapel to the right has damaged fresco fragments removed from the attached convent's cloister and a triptych of the Madonna and Child and Saints Jerome and John the Baptist (1476) by Matteo di Giovanni. It was originally part of a larger polyptych - the lunette is now in the Pinacoteca (see
Lost art below). (The artist is the same one responsible for the disturbing versions of the Massacre of the Innocents elsewhere in Siena.)
The next chapel is full of memorial tablets and the last has another detached fresco fragment and sinopia of the Madonna and Child and Two Saints.
In the rear of the right transept is the entrance to the sacristy which has very fragmented ceiling frescos.
Back down the right side is the stairs to the (usually closed) 14th century gothic crypt which has a crucifix by Sano di Pietro (1465) over the high altar.
Then the very decorated Capella di Santa Caterina, erected in 1466, containing Saint Catherine's head  which has been authenticated and is to be seen behind a grill in the tabernacle (1469) which is the work of Sassetta's son Giovanni di Stefano.  The rest of her remains are in Rome, where she died, the head having been brought here in 1383. The highlight frescoes to the left and right of the tabernacle, and on the chapel's entrance arch, are by Sodoma, from 1526, but the ones in the chapel are not easy to see. On the right wall the painting of Saint Catherine liberating a possessed man is by Francesco Vanni.
Beyond a small door is a display case with a reliquary containing the Saint's right thumb and her scourges.
There's a rather luminous Birth of the Virgin (1584) by Sienese artist Alessandro Casolani over the second altar from the back, said to be his masterpiece.

Campanile
Dates from after 1340. Was reduced in height, with battlements added, after an earthquake in 1798

Lost art
The first documented activity of Giovanni di Paolo is his painting of two panels for the Castiglioni family for this church. One of them depicted Catherine of Siena before canonisation, but both are lost. In 1426 and 1427 he painted a two polyptychs for this church, one probably for the Malavolti family and the other for the the Branchini family chapel. The Malavolti altarpiece is now dispersed, the Branchini's main panel is in Pasadena. Another work, from 1445, formerly known as the Guelfi altarpiece, painted by him for this church is in the Uffizi.
Some lovely fragments of a late (1350 - his last documented work) fresco of The Virgin and Child with Two Angels and Saints Paul, Peter and Dominic by Lippo Memmi are in the Pinacoteca (see below).



A lunette of The Adoration of the Shepherds by Matteo di Giovanni is also in the Pinacoteca. Its odd composition gives most prominence to the snoozing Joseph. It comes from an altarpiece made for the funerary chapel of the Placidi family here.  The main panel is still in the church (the first chapel to the right of the apse) and the predella panels are in Altenberg, a private collection, and three (including The Dream of Saint Jerome and Saint Augustine's Vision of Saints Jerome and John the Baptist) are in the Art Institute of Chicago.

Opening times
Daily 9.00-6.00

Fragments of frescoes in the Accarigi chapel, depicting Saint Thomas Aquinas and other saints, are by Paolo di Giovanni Fei and date from 1387.  A Francesco di Giorgio Nativity of c.1490.








San Donato
Monte de Paschi di Siena (bank)

 

 


History
Built in 1119 as the Abbadia di San Michele, passing swiftly to the Vallombrosan and in 1565 to the Cavalieri di Santo Stefano. These last two orders have their coats of arms over door. By 1682 it had passed to the Carmelites who did much work on the church.
On the right wall as you enter are fresco fragments possibly from the 12th century church.


Lost art
A Crucifix signed and dated 1345 by Niccol˛ di Segna, now in the Pinacoteca. It is said to come from 'the Vallombrosan church of Santi Michele Arcangelo e Benedetto' which seems to fit with here.
A Donatello-inspired  Pieta carved in walnut and polychromed, and early sculpted work by Vecchietta is now in the diocesan museum in the oratory of San Bernardino next door to San Francesco.

 



























 

San Francesco
Selva (wood) contrada church

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History
Founded in 1326 on the site of an earlier church from 1228. Completed around 1475 under the direction of Francesco di Giorgio Martini, who also worked around this time on Santa Maria delle Nevi nearby. Much restored after it was seriously damaged by a fire in 1655 which also destroyed a Perugino altarpiece. After use as a barracks the work between 1894 and 1913, by Giuseppe Partini, attempted to return it to its original gothic state, with mixed success. The interior would have been covered in frescoes and the floor paved with tombs. Wall tombs remain, and some patches of fresco. The neo-gothic fašade is by Vittorio Mariani and Gaetano Ceccarelli (1894-1913)

Interior
A huge stripy barn inside, with no aisles for easier preaching to huge crowds.
The back wall has high and hard to see damaged detached frescos. The one of a choir of angels from the Coronation of the Virgin was begun in 1447 on the city's Porta Romana by Sassetta, possibly already outlined in sinopia by Simone Martini. It was finished in 1466-68 by his colleague Sano di Pietro after Sassetta contracted pneumonia from working outdoors, using Sassetta's full-size cartoons. The other is from the Porta Pispini and is by Sano di Pietro. Lower down are tombs of the Salimbeni family.
As in the Franciscan church in Florence, Santa Croce, the renaissance rich were keen to buy burial space in Franciscan churches to show their humble penitence, to counter their sinfully profiting from usury.
Six recesses on the left wall have large unstriking 16th & 17th century panel paintings on rusty iron frameworks, installed in 1997 to replace the Baroque side altars destroyed in the 19th century.
There's a deep transept with four deep chapels either side of a rectangular apse and two in the rear of the left arm. One of these is called the Cappella della Sacre Particole (Chapel of the Sacred Particle), and there's another of the same name in the right transept. These are used celebrate a miraculous event that took place after the theft of a ciborium containing 351 consecrated hosts on the 14th of August 1730. They were found three days later, in the church of Santa Maria di Provenzano, miraculously intact and incorrupt, which they have remained ever since. This event is therefore celebrated on the 17th of every month, in the chapel in the left transept (also known as the Piccolomini Chapel) in the summer and the right one (Martinozzi) in the colder months.
The north transept has a Martyrdom of Saint Martina by Pietro da Cortona and the huge doorway by Francesco di Giorgio Martini taken from the facade of the church in the early 20th century.
The first chapel at the left of the east end has a fresco panel of the Madonna and Child Enthroned. The next two before the apse have the highlight Lorenzettis - the left hand one has The Ordination of St Louis of Toulouse and a graphic Martyrdom of Six Franciscan at Ceuta in Morocco, by Pietro and Ambrogio. The right-hand one, next to the apse, has a famed red-skied Crucifixion by Pietro (1326). The three are now all that remains of frescos, once in the chapter house (The Crucifixion) and cloister here, began on the Lorenzettis' return from Assisi in the late 1320s. This cycle was mentioned by both Ghiberti and Vasari but whitewashed over in 1730, and uncovered and moved into the chapels in 1857. (Both chapels were full of scaffolding when I visited in September 2016). The first chapel to the right of the apse has a fire-damaged Madonna and Child panel attributed to  Andrea Vanni (1398). The second and third have modern gold-ground altarpieces.
More banking family tombs are to be found in the right transept, and to the rear is the other Cappella della Sacre Particole and a hall leading to the sacristy. Back down the right side are three more panels on iron frameworks and a frescoed recess by Andrea Vanni. There's a fragment in the last recess too, a lunette depicts

(The Sant'Andrea chapel with fresco and sculptural decoration of c.1514 by Giacomo Pacchiarotti for Andrea Piccolomini as a setting for the (now lost) altarpiece by Pintoricchio.)


Lost art
The Fondi altarpiece of 1426 by Giovanni di Paolo.

A Resurrected Christ by Pietro Lorenzetti, in the same fresco series mentioned above, painted for the chapter house, is now in the Pinacoteca (or Diocesan Museum?) A cycle painted by Ambrogio in the cloister, which included The Franciscan Martyrdom at Bombay, was destroyed.
A detached fresco of the Lamentation is all that's left of Vecchietta's c.1448 decoration of the Martinozzi chapel here. It's now in the diocesan museum in the oratory of San Bernardino next door.
An altarpiece painted by Perugino for the Vieri chapel here was destroyed in the fire here in 1655.
A large Deposition by Sodoma from the Cinuzzi chapel here is in the Pinacoteca. As is a 1536 Christ in Limbo by Domenico Beccafumi from the Marsili chapel.

Campanile
Survives from 1763.

The Lorenzetti frescoes






 
   

San Gaetano di Thiene
Oratory built at the end of the 17th c by the Contrada del Nicchio (seashell). On the fašade was a venerated early 16th century image of the Madonna of the Pitchfork in a stucco niche, now replaced there by a copy. Frescoes inside by Giuseppe Nicola Nasini and his son Appollonio

San Giacinto

San Giacomo

 

 

 

 

 

 

 

 

 

 

 

 

 




Oratory of the Contrada della Torre (tower). Built between 1532 and 1536 to celebrate the Sienese victory over the Florentines on 25th July 1526, this having been Saint James's feast day. Two works by Rutilio Manetti, and the adjacent museum has a Way to Calvary thought to be one of Sodoma's last works.

 

 

 

San Giorgio

Consecrated in 1731 with travertine marble fašade, finished in 1738. There's a Crucifixion with Father Matteo Guerra of 1738 on the second altar on the left and a PietÓ with Saint Catherine in the right transept, both by Francesco Vanni . He's buried here, his tomb is to left of main door on the inner fašade. His bronze bust here is the work of his sons Raffaello and Michelangelo, the latter also being responsible for the marble panel.

Campanile
Hard to see. Romanesque of 1260. It has 38 windows, the same number of campaigns fought against the Florentines (or companies of knights took part in the Battle of Montaperti - where Siena defeated Florence - fought in the year it was built.)

San Giovannino della Staffa

The Oratory of the Contrada del Leocorno (unicorn)
Of Roman origin, the current building dates to the mid 16th century. Inside are thirteen canvases of Stories of the Life of John the Baptist by the likes of Rutilio Manetti, Bernardino Mei, Astolfo Petrazzi and Raffaello Vanni.
 

San Girolamo


History
The first Jesuit (Gesuati) convent in Siena, it passed to the Vergini Abbandonate (the Abandoned Virgins) when the Jesuits where suppressed and then to the Figlie della Carita di San Vincenzo de' Paoli, the current occupants.

Interior
Black and white striped interior. On the back wall of an antechamber left of high altar is a Coronation of the Virgin by Sano di Pietro, who became the Jesuit order's official artist. The Virgin is flanked by Saint Jerome and the Beato Giovanni Colombini, the latter being founder of the Gesuati order. He came from a wealthy Sienese family but renounced worldly pleasure at 40, embraced poverty and hardship and established the order.

A monochrome Crucifixion (1448?) by Michele di Matteo.

The cloister contains an arched panel of the Assumption of the Virgin by Fra Giuliano and Bernardino Fugai, who also painted the frescoes in the surrounding niche.


Lost art

A spectacular Madonna and Child with Saints, with a predella of Episodes from the lives of Saints Cosmas and Damian, by Sano di Pietro is in the Pinacoteca, as is the Polyptych of the Gesuati (also known as the Polittico del Beato Colombini) he painted for this church - its predella is in the Louvre. The first (246) is his earliest known signed work, commissioned in 1439 and completed 1444, It underwent restoration for the 2010 exhibition ôFrom Jacopo Della Quercia to Donatello. The Arts in Siena in the early Renaissanceö. The second (233) is from 1446.
 

San Girolamo in Campansi


History

A Baroque-style church, part of a monastery has been converted to a nursing home (Casa di Riposo) for the elderly. Originally established by a group of Franciscan woman in the late 13th/early14th century. The republic gave them some houses here, a district notorious for prostitutes. Only in the 1420s was a monastery built and in 1473 the nuns obtained permission from Pope Sixtus IV to build an oratory. In 1575 the convent housed some 77 women. Following official recognition by Cardinal Metello Bichi in 1613 it soon became popular amongst the aristocracy for the cloistering of daughters, like Berenice, daughter of Agostino Chigi, who took the vows of the Poor Clares in 1683. Construction of the church began in 1683. It was built perpendicular to the former oratory. The convent was suppressed by Napoleon in 1808, but re-opened in 1816, only to be finally suppressed in 1874. In 1889, it became 'an asylum for abandoned elders' and so has had many modifications over the last two centuries.

Interior
The courtyard contains a fresco of the Annunciation attributed to the studio of Sano di Pietro (1460). The ceiling of the church has frescoes depicting the Glory of St Peter of Alcantara with the Virgin, St Francis, and Christ Attributed to a Giulio Coralli and Niccol˛ Ricciolini. It is stated that some of the painting or designs were by Michelangelo and Girolamo di Benvenuto and Bartolomeo Neroni. The first floor of the ex-monastery has a fresco of The Madonna and Child with Saints Anne, Ursula and Mary Magdalene attributed to Domenico Beccafumi.



 

San Giuseppe
 
  San Leonardo



The oratory of the Onda (wave, symbol: dolphin) contrada.
Has a 1653 bust of the saint over door and an octagonal cupola attributed to Baldassarre Peruzzi. Central-planned interior has impressive wooden furnishing. The contrada's museum is in the crypt.








 



Renovated by one Giovanni Michelucci to hold the district's museum.




 

San Martino

 

San Maurizio


History

Mentioned in an 8th century document, and maybe founded even earlier, renovated in the 14th, the current church dates to interior restoration in 1537, with a late renaissance fašade of 1613.

Third altar on left a Nativity of 1522-4 by Beccafumi (commissioned by Anastasia, the widow of Ugolino Ugolini), painted whilst he was working on the Duomo's pavement. Third altar on right a late (1636) Circumcision by Guido Reni. Guercino's Martyrdom of Saint Bartholomew on an altar to the left. High altar has a spectacular ciborium by Giuseppi and Giovanni Antonio Mazzuoli.

A Virgin and Child by Neroccio was recently found here under layers of repainting and restored and unveiled at the Pinacoteca in 2010.

Lost art
A Crucifix signed and dated 1433 by Sassetta, three fragments of which are in the Fondazione Monte dei Paschi.

Campanile
Finally finished in 1738


Lost art

The Mannelli chapel had an altarpiece painted by Paolo di Giovanni Fei in 1391, pieces of which, depicting Saint James Major, Saint John the Baptist, and Saint Mauritius, are now in the Pinacoteca.

A high altarpiece from the mid-1340s by Niccol˛ di Segna. The central panel, of the Virgin and Child, is in the I Tatti collection. The four main lateral panels are in Baltimore (Saint Lucy), Atlanta (Saints Maurice and Catherine) and the Pinacoteca (Saint Bartholomew). Smaller panels from the clerestory level are widely dispersed, the pinnacles and predella panesl are lost or unidentified.

A Master of the Osservanza/Sano di Pietro triptych of the Virgin and Child with Saints Ambrose and Jerome (see right) dated 1436 and commissioned by merchant Manno di Orlando for his chapel here, is now in the Osservanza. (Also Pinacoteca 230)
 
San Niccol˛ al Carmine
v
History

Built in the 14th century but given a renaissance remodelling in the next century by Baldassare Peruzzi, who was responsible for the high altar in the Duomo and made a name for himself in Rome for, amongst other buildings, the Palazzo della Farnesina for Sienese banker Agostino Chigi.

Interior
A tall single nave interior with a pair of altars in the middle either side and a pair more alcoves towards the back. The right wall altar has a stormy St Michael Banishing the Rebel Angels by Domenico Beccafumi. (His original, even more mannerist, version was rejected by the monks and is now in the Pinacoteca.) To its left is an ostentatiously framed fresco fragment of the Madonna from an Annunciation, by Ambrogio Lorenzetti it is sometimes claimed. The right wall alcove is full of an impressive lately-uncovered fresco of The Ascension (see right) damaged and missing its Christ, by Benedetto di Bindo. The left wall altar has a panel of The Ascension by Girolamo del Pacchia with a three panel predella depicting the Annunciation to Joseph, the Flight into Egypt and the Adoration of the Magi. There are some 17th century panels about the place. To the right of the apse is the door to the Chapel of the Sacrament with a painting by Sodoma of God the Father and the Birth of the Virgin currently (September 2016) away being restored.
The sacristy evidently has a polychrome terracotta statue of Saint Sigismund by Giacomo Cozzarelli and an Annunciation by Raffaello Vanni.

Lost art
A 13th century Madonna and Child panel by Gilio di Pietro is in the Pinacoteca.

Of the large Pala del Carmine high altarpiece painted by Pietro Lorenzetti from 1329 the central panel, the Virgin and Child with Saint Nicholas and Elijah and the far flanking full-length standing figures of Saints Catherine and Agnes are in the Pinacoteca, with the central-panel-flanking  St John the Baptist and Elisha panels now in the Norton Simon Museum in Pasadena. The predella (depicting episodes from the history of the Carmelite order) and three (two?) pinnacles are also in the Pinacoteca. Another panel is in the Yale University Art Gallery and at least one is missing.
A very damaged Crucifix by him from here is also in the Pinacoteca.

Also in the Pinacoteca is Bernardino Fungai's Virgin and Child Enthroned, with Saints Sebastian, Jerome Nicholas and Anthony of Padua (1512), his only signed and dated work. So all the scholarship on Fungai flows from this work. Some predella panels in the Howard University Gallery of Art in Washington are said to parts of this altarpiece.
Christ Suffering and Christ Triumphant by Giovanni di Paolo (see right) and? a polyptych of 1453 by him for the high altar here, also in the Pinacoteca.



Cloister
16th century with frescoes by Giuseppe Nicola Nasini of 1710. Can be entered via no.44.

 

 




































 
San Pellegrino alla Sapienza   San Pietro
Chiesa Anglicana



History
First documented in 1240 and enlarged in 1321 by Beato Andrea Gallerani, the founder of the Opera della Misericordia, a charitable foundation set up to look after orphans and the elderly. The second niche on the right contains his portrait, possibly by Lippo Memmi, who may also have been responsible for the Saint Paul in the fifth niche on the right, and the matching Saint Peter in the fifth niche opposite.

Lost art
A Saint Michael Enthroned with Saints Anthony Abbot and John the Baptist by Angelo Puccinelli is in the Pinacotaca.



History
The building dates from 1909, but as early as 1841 a rich widow called Lady Olivia Bernhard Sparrow, a strong evangelical and a friend of William Wilberforce we are told, had dominated a small group of Anglican worshippers in the city. In 1907 a church building fund was started and in March 1908 land was bought in Via Garibaldi, with funds provided by Mrs Georgina Allinson Hignetti, and on April 18 1909 services were held for the first time in the medieval style church.

Opening times
Wednesdays 11-1pm, with a service at 12.30pm.

San Pietro a Ovile


History
The original 13th century Romanesque church was probably the Franciscans' first home in the city before the building of San Francesco nearby. Interior rebuilding in 1753. A small fourteenth-century cloister was revealed by restoration work and is visible from no. 28 Via del Giglio.

Still has a brick fašade, the lunette over the door has a fragmentary fresco by Rutilio Manetti

Interior
In the left aisle near the door are fresco fragments of an Annunciation and a copy of a Maesta painted in 1350 by the anonymous Maestro di San Pietro a Ovile. The right wall of the apse has fresco fragments probably by Bartolo di Fredi. Above was a 15th century painted Crucifix by Giovanni di Paolo, which is now, evidently, to be found in the Diocesan Museum in Piazza San Francesco along with the altarpiece of The Annunciation. Wooden sculptures of the Madonna and John the Evangelist from 1415 by Domenico dei Cori, probably made for the Duomo but troublesome circumstances brought them here - they are now 'temporarily' in the Opera museum.

Lost art
A triptych commissioned from Matteo di Giovanni in the early 1450s by this church's rector, Mariano di Nanni, is now 'disassembled'. The central section is said to be a copy of Simone Martini's Annunciation, now in the Uffizi.


Opening times

Was quite recently used as a university lecture hall. Currently closed

 



 

San Pietro alla Magione
San Pietro in Camollia or ...della Magione

v
History
Documents tell of a church here as early as 998, built after houses and vineyards were donated by Counts Bernardo and Gualfredo Ranieri, and their cousin Guilla. The church belonged to the Knights Templar from the 12th century (as mentioned in a document from 1148 . With the suppression of the Templars in 1312, the church passed to the Knights Hospitaller who later became the Knights of Malta. With the abolition of that the church passed to the Diocese.

Fašade
Romanesque, but with a too-big 14th century gothic doorway attached and a brick renaissance chapel, built 1523/6, stuck on to the right.

Interior
Romanesque interior was restored in 1957, which resulted in the raised presbytery and the plain semi - circular apse, which contains a Gothic tabernacle from the second half of the 14th century. Rough stone, single nave, with a timber roof and one niche altar either side. Detached fresco and sinopia panels. Also a Madonna with Saints John the Baptist and Peter by Diego Pesco, fragments of frescoes (a Cruxifixion and Old Testament Stories) by Cristoforo Bindoccio and Meo di Pero.
The chapel on the right was erected in 1523-26 as an ex voto for the passing of the plague. It houses a Martyrdom of St Donnino and Saint Hugh by Antonio Nasini/questionable? and a fragment of a Madonna with Child attributed to Lorenzo Rustici/Bartolomeo Neroni called Riccio?





Martino di Bartolomeo, a predella panel showing the
Apparition of the Virgin Over the Church of the Magione
.
Now in the museum of the Banca Monte dei Paschi.

 



 

 

 


























 

San Pietro alle Scale



v
13th century but transformed in the 18th

Interior
Wide and very dark, no aisles in apse but aisles either side of deep presbytery supported by huge clusters of columns and pillars with a pair of altars on opposite sides of apse. Modern stained glass in small side windows. Has a high altarpiece by Rutilio Manetti (1621) and five panels from a dismantled polyptych attributed to Ambrogio Lorenzetti. These last works went totally unnoticed by me on my visit, but it was very dark inside.



Lost art
Three panels from a polyptych finished in 1451, depicting pairs of saints, begun by Sassetta and finished by his colleague Sano di Pietro upon the former's death, are in the Pinacoteca
 


 

San Raimondo al Refugio




v

History

Built from 1660 by Sienese architect Benedetto Giovannelli Orlandi for the Chigi family, whose arms are still huge and high on the fašade. The architect was asked to create the fašade and the short road leading up to it. The vault was damaged in the earthquake of 1798.

Interior
Baroque, congested and aisleless, with much white and gilded plasterwork, of course. The nave is square with a painted dome ceiling. There are three large altarpieces, over the main and each of the side altars, and eight small panels. All 17th century and sweet bordering on insipid. The tomb of Aurelio Chigi very noticeable in the centre of the aisle. The entrance hallway under under the organ retains its screen. The old sacristy is off the left here and has a large case of reliquaries and the like and two nice 15th century gold ground Madonnas by Sano di Pietro (con Bambino) and Domenico di Bartolo (Assunta, head and shoulders) and a Jacopo della Quercia full size carved & painted wooden Saint Catherine of Alexandra.

Nicely kept and staffed by volunteers, it seemed, from the Fondazione Conservatori Riuniti di Siena.

Opening times
Wednesday and Saturday 9.30-1.00
 

 


 

San Rocco
Oratory

 

San Sebastiano
Oratory





History
A 16th century structure, with 17th century works by Rutilio Manetti, Raffaello Vanni and others. The home of the Lupa (she-wolf) contrada since 1789. The district's museum here has an altarpiece of The Apparition of the Madonna before San Rocco signed in 1603 by Ventura Salimbeni.

 

 

 

 

 

 

 



History

Built by the Weavers' Guild from 1493 to 1550 with rebuilding in the 1650s. Over the altar is the Madonna of the Forest in stucco and polychrome terracotta from c.1474. It is attributed to Francesco di Giorgio Martini who is also said to have designed the church.  This has been the church of the Selva (Forest) contrada since 1818. The 15th century crypt houses the district's museum.

Interior
There are late-16th early-17th century frescoes inside by Pietro Sorri, Giovanni Paolo Pisani and Raffaello Vanni. The paintings by 17th century Sienese artists mostly depict the life of the saint, Rutilio Manetti being the most accomplished.
San Vigilio
 


History
housed the Jesuits from 1561-1773

Originally a parish church built by the Ugurgieri family, the church passed to the  the Camaldolese order in the 11th century with their convent next door. The church burned down in a fire in 115, and was rebuilt by 1231. In 1420 the monks were expelled and in 1556 passed to the Jesuits, who rebuilt the church from 1561 and continued to refurbish until 1775. When the Jesuits were suppressed in 1759, the church was acquired by the Vallombrosan order, who had the facade rebuilt in its present form by architect Antonio Matteucci. When the Vallombrosans were suppressed in 1816 the Grand Duke of Tuscany gave the church to the University of Siena, which it still is..

Interior
The ceiling is decorated with 15 canvases by Raffaello Vanni depicting The Last Judgement. The chapel of St Francis Xavier has works by Francesco Vanni, and Baldassare Franceschini. The chapel of the Madonna di Loreto is decorated with canvases by Francesco Vanni of  The Assumption of the Virgin and The Translation of the House.

The high altarpiece depicting the Glory of St Ignatius is by Mattia Preti. Flanking it are two canvases by Francesco Vanni depicting Louis Gonzaga and Stanislaus Kostka.

 

 


Sant'Agnese a Vignano    
   

Sant'Agostino


History
Augustinian, built in 1258. The order's relatively late foundation and need for large space for congregations, they being a preaching order, means their churches are usually found near, or just outside, the city walls.

Chapel in right transept added in 1487, with internal renovation by Luigi Vanvitelli in the 18th century and an entrance doorway designed by Agostino Fantastici in 1819. Now used for cultural events.

Interior
Evidently bright, and remodelled in 1749 by Gaspare Vanvitelli. The high altar has the shrine of the Blessed Agostino Novello, a local almost-saint who organised and worked to benefit the poor and infirm from the hermitage of San Leonardo.
There's a Crucifixion by Perugino over the second altar on right, in which the crucified Christ is between the Marys and Saints Monica, Jerome, John the Baptist and Augustine. Beyond is the entrance to the Capella Piccolomini in the chapter house of the convent, with a crowded Adoration of the Magi (1530) by Sodoma. The youth in profile to the left of Madonna is said to be a self-portrait.
The lunette fresco opposite is a MaestÓ by Ambrogio Lorenzetti, discovered during restoration in 1943. It is all that remains of a cycle by Ambrogio, admired by Ghiberti, devoted to Saint Catherine of Alexandria. There have been many theories expounded to explain its odd selection of sometimes hard-to-identify saints. A recent, and quite convincing one, relates the painting to disputes amongst Augustinians at the time of its painting. A meeting of the Order's Chapter was convened in this very chapel in 1338. It does contain arguably the most shocked-looking Baby in trecento art.
The second (Bichi) chapel to right of high altar has two lunette medallions by Luca Signorelli and monochrome frescoes of the Nativity of the Virgin and the Nativity of Christ by Francesco di Giorgio from c.1489/94, found under whitewash during restoration work in the 1970s.
The sacristy chapel has fragments of frescoes of the Infancy of Christ and saints by Paolo di Giovanni Fei from c.1373/75, his earliest known work.

Lost art
Two paintings once in the Capella Piccolomini here: one of the many odd versions of the Massacre of the Innocents (1482) by Matteo di Giovanni is now in the Capella della Madonna in the Santa Maria della Scala Ospedale (with fragments of its lunette are in Esztergom and a private collection).
The fine Blessed Agostino Novello and Four of his Miracles (c.1330) by Simone Martini is now in the Pinacoteca and is one of only three works by him remaining in Siena.
The Bichi altarpiece, painted as part of the complex for the chapel mentioned above,  by Luca Signorelli was disassembled and dispersed in the mid 18th century. Panels are now in Toledo and Berlin, with predella panels in Dublin and Scotland.

Opening times
mid-March to end Oct 10.30-1.30 & 3.00-5.30
Supposedly, but not when I was last in Siena (September 2016(.
 


Sant'Anastasia

   


 

Now used for Russian orthodox services.






 

 







 

SantĺAndrea Apostolo
 


v


History
Romanesque, founded in 1175, with major 18th century adjustments

Interior
Small and aisleless with a nice mix of rough walls and smooth pilasters and arches. a plain rough apse and a shallow altar niche each side, with frescoes. On the right a Saint Anne with the Madonna and Child, possibly by Martino di Bartolomeo, discovered during restoration in 1959. On the left a more damaged remainder of a representation of architecture with Jesus and Seraphs in the lunette and San Bernardino on the right niche wall. Guidebooks mention a highlight triptych over the high altar of the Coronation of the Virgin with Saints Peter and Andrew (1445) signed by Giovanni di Paolo, but as you can see in my photo below it's not there now, or wasn't in September 2016.

 


 

Sant'Ansano
(Cappella delle Carceri di...)

 

Sant'Elisabetta della Visitazione



History
One of Siena's patron saints. He's a 3rd century saint so the legend that he was imprisoned in the tower on the right of this 16th century church, admittedly built on the site of an older church, is hard to accept. The saint is depicted in the stained glass window in the oculus above the door, the high altarpiece of 1617 by Rustichino and in the fresco fragments on the left wall attributed to Priamo della Quercia, the brother of sculptor Jacopo.

 

 

Opening times
Usually closed











 


Interior photo from the My Day Worth blog
 


v
History

The original church dates to 1680, but the current church was built in the late 19th century by the Blessed Savina Petrilli for the Order of the Sisters of the Poor of St. Catherine of Siena, which she founded in 1873. Building began in 1884 to neo-renaissance designs by Agenor Socini and was completed in 1901 .

Interior
Nave and aisles separated by wide pillared arches supporting a high gallery. Aisle walls utterly plain with altars at the aisle ends flanking a shallow five-sided decorated apse. Modern panels.
The decoration was overseen by Alessandro Franchi, responsible for Saint Joseph on the back wall of the left aisle, the Visitation in the apse and the Stigmata of Saint Catherine of Siena  on the back wall of the right aisle, the latter carried out in collaboration with his wife Luisa Mussini (the daughter of painter Luigi Mussini, who was Franchi's tutor) she being also responsible for the Saint Anthony of Padua in the chapel named for him.
On the altar a Madonna and Child by Luca di TommŔ.
Under the altar are the remains of Savina Petrilli (1851-1923) she being one of the 31 ôsaints, beatified, and servants of Godö controversially mummified between 1975 and 2008. Controversial also for the fact that of the team of embalmers only one survivor was still alive in 2014 when the issue was reported, the others having died of various tumours and cancers, likely side effects of the toxic chemicals used in their work.

 

 

 

Sant'Antonio da Padova Oratory Santa Caterina

 

Santa Caterina
casa e santuario


History
The house where the saint was born, became a sanctuary devoted to her memory after being bought by the comune in 1466.

Interior
Entrance through a portico of 1941 into a sweet loggia of 1533, possibly by Peruzzi or Giovanni Battista Pelori, a follower. The Oratorio della Cucina is the family kitchen converted into an oratory in the 16th century. It has an altarpiece by Bernardino Fungai. The wooden stalls date from 1518 and 1555, the majolica pavement is from the same century.

Opposite the oratory is the Church of the Crocifisso, built in 1623 to house the (late 12th century Pisan) Crucifix in front of which Saint Catherine received the stigmata in Pisa in 1375. It is kept over the high altar in a cupboard decorated by Il Riccio. In the south transept is an altarpiece by Sebastiano Conca and in the north transept  one by Domenico and Rutilio Manetti. Downstairs is the Camera della Santa, the saint's cell, frescoed in 1896 and containing a small painting of Saint Catherine Receiving the Stigmata by Girolamo di Bemvenuto. Below this is the Oratorio della Tintoria or Santa Caterina in Fontebranda, built in 1465 on the site of a dyer's workshop (tintoria). There's a polychrome wooden statue of the saint by Neroccio di Bartolomeo dei Landi (1475), frescoes of five angels by Sodoma and scenes from the saint's life by Girolamo del Pacchia, Vincenzo Tamagni, Giacomo Pacchiarotti and Ventura Salimbeni.

 


 



 

Santa Lucia
Santi Niccol˛ e Lucia

v
History
Renovated in 16th and 17th centuries

Interior
Small, pale baroque and aisleless with a pair of side chapels. On the left one a carved Crucifix with painted staffage. On the right 18th century stucco angels and putti surround an old icon-like painting of a crowned Madonna. The barrel vaulted ceiling and lunettes over side chapels are frescoed, with a trompe l'oeil dome in the centre. These 17th century vault frescoes are the work of Sebastiano Foli and Francesco Bertini. There's a Baroque organ gallery over the entrance. Shallow baroquely gilded rectangular apse with grills either side and a high altarpiece of the Martyrdom of St Lucy by Francesco Vanni of 1606. Flanking the presbytery are 15th century polychrome statues - Saint Lucy attributed to Francesco di Giorgio Martini and Saint Nicholas by a follower of Giovanni di Stefano.

 

 High altarpiece depicting female Saint (Lucy?) about to be...? and receiving communion?
 


 

 

 

Santa Maria dei Servi

v
History
The huge brick church of the Servites, begun in the 13th century but enlarged over the next two centuries and so not finished and consecrated until 1533. The 15th century fašade remains unfinished. Suffered harsh restoration in 1925.

Interior
The interior, remodelled during the Renaissance, is plain and fine, though marred by 19th century restoration. There are five deep bays with altars in each aisle.
The first on the right is a small enclosed chapel with Anonymous 14th century fresco fragments on the outside wall of The Last Judgement and Mary freeing souls from purgatory.

Over the first main altar on the right is the very Byzantine highlight Madonna and Child with Two Angels (the Madonna di Bordone) (see right) of 1261 by Coppo di Marcovaldo, a Florentine artist captured at the battle of Montaperti in 1260 and made to paint this picture to earn his freedom, it is said. It's his first known major work and the only one safely attributable, having been signed and dated. The heads had their detailing softened by a local artist, a pupil of Duccio, a couple of decades later, a fact revealed by x-radiography. It is flanked by Santa Caterina and San Rocco panels by Arcangelo Salimbeni from the later 16th century.
The last altar on the right has an impressive and gilding-detailed Massacre of the Innocents of 1491 by Matteo di Giovanni, who somewhat specialised in this with several more treatments in Siena, one being a panel in the pavement in the Duomo. It features his perverse taste for stabby and creepy details.
The end of this transept arm has a painted 14th century Crucifix, by Niccol˛ di Segna. Underneath is an altar with the remains of the Blessed Francesco Patrizi, a well-loved Sienese Servite known locally as Francesco Tarlato (worm-eaten Francesco) due to the state of his remains. Over the door to the left is a small Madonna and Child by Segna di Bonaventura, a nephew of Duccio and the father of the Niccol˛ mentioned above.

The Massacre of the Innocents fresco on the right wall of the far right chapel in the deep transept is by Pietro Lorenzetti, and Niccol˛ and Francesco di Segna. The chapel nearest the apse has a turn of the 20th century gold-ground triptych by Alexander Franchi. The high altarpiece is a wide panel depicting The Coronation of the Virgin by Bernardino Fungai from 1501. The first chapel left of apse has some anonymous fresco fragments, but the last one has an impressive collection of big damaged 14th century frescoes by Pietro Lorenzetti, and others. They depict the Banquet of Herod and Death of John the Baptist. Also a Nativity, a bit of a polyptych by Taddeo di Bartolo (a follower of Lorenzetti). The left transept end chapel has a Madonna del Manto altarpiece in watercolour, signed and dated 1431 by Giovanni di Paolo, a pupil of Taddeo di Bartolo. The leader of the monks sheltered by the Virgin's cloak on one side is Filippo Benizzi, a Servite general whose life is illustrated by Andrea del Sarto in the Chiostrino dei Voti in Santissima Annunziata in Florence.
Coming back up the left aisle, second altar from the back has a small panel of the Madonna del Belvedere a rare work by Jacopo di Mino del Pelliciaio, a pupil of Lippo Memmi, flanked by Saint Joseph and Mary Magdalen by Bernadino Fungai, also responsible for the high altarpiece here. The first chapel has a bright Annunciation by Francesco Vanni.

(frescoes in the Spinelli chapel by Niccol˛ di Segna?)


Lost art

A very sweet panel of the Madonna and Child Enthroned with Four Angels of 1470 is all that remains of an altarpiece commissioned by the Della Ciaia family for their altar here) by Matteo di Giovanni (see right) is in the Pinacoteca.
 A Virgin and Child, known as the Madonna del Popolo, signed by Lippo Memmi, (late 1320s) is in the Pinacoteca.


Campanile
Massive, brick, 14th century, restored in 1926.
 






 

Santa Maria della Scala Ospedale


Interior
You will be given a map, but note that the floor where you begin is the fourth. The first space you enter, to the right of the ticket desk, is the Capella del Manto. Named for the fresco of The Madonna della Misericordia which is now in Capella del Sacro Chiodo. The fresco decoration here on the arches and vaults is 14th century, with a lunette fresco of St Anne and St Joachim at the Golden Gate by Domenico Beccafumi from 1512.
Into the passagio, the rooms on the right have changing displays. To the left you enter the
Sala del Pellegrinaio with walls covered with frescoes by Domenico di Bartolo and Vecchietta of episodes from the history of Santa Maria della Scala, painted from 1440.

The
Sagrestia Vecchia (see right) is further along to the left. It's also known as the Capella del Sacro Chiodo, because it once housed a nail (chiodo) used for Christ's crucifixion. This may have suggested the subject of Vecchietta's now very fragmentary, but impressive, frescoes here of 1446-9, which depict the Articles of the Apostle's Creed, painted after his work in the Sala del Pellegrinaio mentioned above. This is not the easiest of subjects to interpret without captions, and one unusually centred on Christ himself, rather than his mother, or the city itself, which are the more usual subjects for such cycles in Siena. The 1444 high altarpiece by Domenico di Bartolo here being more typical, as it depicts the Madonna della Misericordia, with Sienese citizens protected under her cloak. This is the fresco originally in the Cappella del Manto mentioned above. It was detached and moved here in 1610, minus its two ends which were removed so it would fit the altar here. These fragments were reattached in 1969 and the sinopia (underdrawing) of the main panel is displayed nearby.
You then pass through the baroque
Capella della Madonna, with an odd and disturbing Massacre of the Innocents by Matteo di Giovanni (his speciality - see Santa Maria dei Servi) which has smiling children looking on the carnage from windows. It was originally in Sant'Agostino.
And then it's on into into the sudden large space of
Santissima Annunziata (see below right) Rebuilt in 15th century. Boxy and a bit characterless but with an impressive huge apse-filling fresco depicting the Probatica Piscina painted by Sebastiano Conca in 1730. It replaced/destroyed the fresco of the Coronation of the Virgin by Francesco di Giorgio Martini.  Also a Vecchietta statue of The Risen Christ topping the high altar. Frescoes by him had covered the walls before the rebuilding, but his work in the Capella del Sacro Chiodo is now all that remains. A Virgin and Child by Paolo di Giovanni Fei?  The coffered ceiling is the work of Francesco di Giorgio and painter Lotto di Domenico.
Downstairs on level 3 a stripy and windowless pair of rooms lead to the baroque and windowless Oratorio di Santa Caterina della Notte (see below) stucco-decorated in the 18th century, with two more rooms beyond, the last of which, the sacristy, has a sudden triptych of The Madonna and Child with four angels and Saints John the Baptist and Andrew of c.1400 by Taddeo di Bartolo. It was painted for the Compagnia di San Michele Arcangelo, a charitable group of flagellants. A panel of the Lamentation in the I Tatti collection, is very likely from this work's predella.
 Also on this floor is an excessively large space devoted to Jacopo delle Quercia's Fonte Gaia, with masses of eroded bits and plaster reconstructions. There's also a sequence of confusing rooms and crannies full of reliquaries that is weirdly lit and like a rough brick fairground attraction, made all the more unnerving by bits of modern art, and by my being mostly alone. The next floor down has an oratory, revealed frescos and an archaeological museum, but I was too tired and confused to do them justice.



Lost art
A Madonna and Child with Saints Agnese, John the Evangelist, John the Baptist and Mary Magdelene  - a polyptych by Duccio is in the Pinacoteca.
An influential cycle of frescoes of the Life of the Virgin was painted on the fašade of Santa Maria della Scala in 1335. Pietro Lorenzetti painted the Nativity of the Virgin, and his brother Ambrigio and Simone Martini also contributed frescoes. All are now lost, see right for an artist's  reconstruction. A triptych by Ambrogio Lorenzetti, consisting of The 'Little' Maesta in the Pinacoteca and fragments showing Saint Nicholas of Bari Giving Alms, in the Louvre, and Saint Martin and the Poor Man, in the Yale Art Gallery.
Giovanni di Paolo painted much for the hospital from the 1440s, including altarpieces, banners and designs for the embroidery of vestments. All that remains of these projects is the altarpiece of The Purification of the Virgin/Presentation at the Temple?, now in the Pinacoteca, painted for the guild of Pizzicaiuoli (grocers), installed in 1449.
An Assumption panel by Ugolino Lorenzetti (an invented name for an unknown artist midway between the styles of Ugolino da Nerio and the Lorenzetti) is in the Pinacoteca. As is a Crucifix by Taddeo di Bartolo and a Presentation by Giovanni di Paolo. Also some fresco fragments (including a sinopia) by Domenico di Bartolo and panels from the doors of a reliquary cabinet by Lorenzo di Pietro (Il Vecchietta).
 












A reconstruction of the fašade by Roberto Parenti, from Barzanti, R.  Storia di Siena.

Santa Maria delle Nevi
oratory


History
Built from from 1470-1472 for Giovanni Cinughi, Bishop of Pienza, whose coat of arms can be seen on the fašade, to designs by Francesco di Giorgio, possibly carried out by his pupil Bastiano di Corso. a Sienese-born architect, painter, sculptor and civil and military engineer. The church has been 'temporarily' closed for restoration for many years

Interior
The high altarpiece, echoed in the curves of vaulting, is the Madonna della Neve of 1477 by Matteo di Giovanni (may be in the Pinacoteca) (see left) with cherubs making snowballs and angels giving the Madonna bowls of snow. It was originally in the (now demolished) monastery of Sant'Egidio. The legend of the origins of Santa Maria Maggiore in Rome is depicted in the predella - a miraculous fall of snow marked the outline of the church. Ironically the pavement of 1685 in the centre of the nave bears the arms of the Medici, Siena's and Tuscany's eventual rulers. Halfway down right wall is the Messa di San Cerbone of 1630 by Rutilo Manetti.

 

 

 








 

Santa Maria in Portico a Fontegiusta
 


History
Built 1482/84 to Renaissance-style designs by Francesco di Cristoforo Fedeli from Como to celebrate the victory of Siena over the Florentines in the Battle of Poggio Imperiale fought in Poggibonsi on September 7, 1479. The former Porta de Pescaja, also known as Porta Fontegiusta, was a city gate, sited where the apse is now. It was walled up as Siena tried to limit access to the city during times of conflict.

Fašade
The facade remains brick. The doorway (1489) is the work of Urbano di Cortona, with a bas-relief of the Madonna and Child with Angels above attributed to Giovanni di Stefano.

Interior
Almost square, as space was limited, what with the church being built up against the city wall. A nave and two aisles, divided into vaulted squares.
On the left wall is a fresco of The Sibyl Announcing the Birth of Christ to the Emperor Augustus once attributed to architect Baldassare Peruzzi (who lived nearby), but now thought to be a work of Daniele da Volterra, or both of them.
The marble high altar (1509-17) is attributed to Lorenzo di Mariano, called il Marrina. In the tabernacle is the miracle-working Madonna di Fontegiusta by Lippo Vanni, originally part of a fresco from the portico of the customs house. The large lunette fresco above of The Assumption (1515) is by Girolamo di Benvenuto, with side frescoes depicting the Birth of the Virgin, Annunciation and The Madonna in Glory (1600) by Ventura Salimbeni.
To the right of the altar is a painting of The Blessed Ambrogio Sansedoni asking protection of the city of Siena from the Virgin (1590), by Francesco Vanni. On the right is a Coronation of the Virgin with Four Saints  altarpiece by Bernardino Fungai (1508-1512).
The sacristy has a small museum dedicated to memorabilia (including a whalebone) said to have belonged to Christopher Columbus while he was, possibly, a student at the University of Siena.

Opening times
every morning from Monday to Saturday.
 





Interior photo from the My Day Worth blog

Santa Maria di Provenzano

   


History

Built from 1595 and consecrated in 1611, with rare-for-Siena ornate  baroque fašade of 1604, to designs by Flaminio del Turco, which were said to have been based on counter-reformation principles. The dome was designed by Don Giovanni de' Medici, the illegitimate son of Cosimo I

 

Interior
17th century altarpieces by Bernardino Mei (west wall) and Rutilio Manetti (first south altar).

Flaminio del Turco is also credited with the design of the high altar on which the famed 15th century miraculous terracotta Madonna del Provenzano sits. Its power is said to derive from it having been on the facade of the home of Provenzano Salviani, or at least a house nearby. He being the leader of the Sienese army at its famous victory of Florence at the Battle of Montaperti in 1260. The miracle is took place on the 2nd July 1594 when the bust is said to have cure a man with diseased limbs and/or 'defended itself from the insults of a soldier'. Other reports say that the bust was destroyed and the (occupying Spanish) soldier responsible then repented, or died. The faithful remain unperturbed by it having been dated to two hundred years after the battle. The second Palio, held on July 1st, has been run in the statue's honour since 1656.
 



Santa Maria Maddalena (Castiglione d'Orcia)

Lost art
A damaged small triptych of the Madonna and Child by the Master of the Osservanza (
Sano di Pietro?) is in the Pinacoteca. Also a Madonna of the Goldfinch by Sano di Pietro.

85622222


Santa Marta

A convent and church by Porta San Marco.

The convent was founded in 1329 by Milla de 'Conti d'Elci a noblewoman who, when widowed, decided to build a convent dedicated to Santa Marta following the rule of St. Augustine. Initially for widows only, then virgins. Milla died in 1348 but her family retained control of the convent. Suppressed in 1810 by Napoleonic the convent became a prison and then, briefly, housed the mentally ill before they were transferred to the Asylum of Saint Nicholas. In 1814 the complex became an orphanage and remained so until 1975 when it became a college. It passed to the City of Siena in 1983 and in 1986 restoration work began. Now houses the Istituto Storico della Resistenza Senese e dellĺEtÓ Contemporanea and accommodation for rent.

The church choir has 14th century frescoes including the Burial of Saint Martha by Matteo Giovannetti. Also 14th/15th century monochrome fresco fragments in the cloister depicting the Life of Saint Jerome and the reclusive life generally. The refectory has a vast fresco of 1522 of the Last Supper (recently found under whitewash) by Giacomo Paccharotti, an associate of Pintoricchio.

Lost art
Two panels from a polyptych by Ambrogio Lorenzetti, depicting Saints Paul and John the Baptist, are in the Pinacoteca. As is a panel of Scenes from the New Testament by Cristofano di Bindoccio.



Santa Petronilla
Originally the church of the Umiliati.

Lost art
A Saint John the Baptist Enthroned, with 12 scenes from his life, by a 13th century Sienese master is in the Pinacoteca.
As is a triptych of the Madonna and Child with Saints Mary Magdalene and Dorothy by Ambrogio Lorenzetti, with a predella panel of The Lamentation and two further side panels depicting Saints John the Baptist and John the Evangelist. Also a Polyptych of the Assumption by Sano di Pietro.

Institute of Santa Teresa

Santi Pietro e Paolo
via san marco
17th century oratory of the chiocciola (snail) contrada. They used to use the Chapel of the Madonna del Rosario nearby, until they moved here, along with the art and fittings from the Madonna del Rosario.
 

Santi Quirico (e Giulitta)

 

Santi Vincenzo e Anastasio

 


History

One of Siena's oldest, built on the site of a pagan temple. 17th century but with 13th century remainders, including the fine Romanesque portal. Contains paintings by Ventura Salimbeni and Francesco Vanni.


Istrice (Porcupine) contrada
 

History

Said to date from 1144. Renovated in the 18th century. Was the parish church until suppression in 1782 by Grand Duke Leopold of Tuscany and in 1788 it transferred Istrice contrada. The painter Pinturicchio was buried here in 1513 - there's a small niche with a bronze bust on the right wall.
 

Plain fašade, baroque interior with a single nave and five bays. On left wall is a Madonna and Child with Saints Bernardino and Jerome by Sano di Pietro. Over the high altar is an 18th century wooden tabernacle with angels, behind which there are 18th century monochrome frescoes by Carlo Amidei. Contains much 18th century art, but also an anonymous fresco of Christ Pantocrator detached from the fašade which is early13th century and possibly the oldest painting in Siena. And maybe no longer to be here.

Campanile
Neo-gothic, rebuilt in 1871 as the original one had been damaged by an earthquake in 1869 .

 

  Santo Sepolcro Oratorio
 

Santo Spirito

 

Santo Stefano alla Lizza


History
Rebuilt late 15th/early 16th century after being acquired by Observant Dominicans, financed by Pandolfo Petrucci.

Interior
Inside is a polychrome terracotta Nativity by Ambrogio della Robbia, a Dominican from the famous family.

First chapel on right entirely decorated by Sodama in 1520, including a representation of Saint Jacob Defeating the Moors, a very Spanish subject in a chapel commissioned by Spaniards. Further down on right, the chapel before the high altar has San Giacinto in Glory in the vault by Francesco Vanni, with the saint's life depicted by Ventura Salimbeni on the walls. The Borghesi altarpiece by Giacomo Pacchiarotti of 1505, although the predella is in the Pinacoteca.
 
History
Founded in the 12th century and rebuilt baroquely in 1675. Formerly falling into dereliction, the church is now used for opera performances.

Lost art
Housed the Madonna and Child with Saints (including Saint Stephen looking even more like Mickey Mouse than usual) (1400) by Andrea Vanni (with a predella by Giovanni di Paolo of six scenes from the Life of St Stephen with a central Crucifixion with Saints Jerome and Bernard) which is now in the Duomo Baptistery. As is a Visitation by Rutilio Manetti formerly on the the right hand altar here.

Santuccio

Lost?
in Pinacoteca



Founded  by Augustinian nuns in 1362 and rebuilt in the 16th century, this is the only substantial remaining part of the the adjacent convent of Santa Maria degli Angeli.

The fašade is by Annibale Bichi, the benefactor. The interior houses an altarpiece of the Madonna and Child with Saints begun by Francesco Vanni in 1610, the year of his death, continued by Ventura Salimbeni, his half-brother, who died in 1613, and completed by Sebastiano Folli in 1614. The frescos on the side walls are by Ventura Salimbeni, and depict episodes in The Life of Saint Galgano, a local saint whose head the nuns once proudly owned. His cloak is said to be here too.


Sant'Antonio in Fontebranda
A Coronation of Saint Catherine of Alexandra polyptych by Jacopo di Mino del Pellicciaio is in the Pinacoteca.

Sant'Egidio
Cappuccine convent demolished, 1903?
Lost art
Saint Lawrence panel by Lorenzo di Pietro (Il Vecchietta) in the Pinacoteca

San Giusto
Lost art
A Crucifix by the Master of the Polyptych of San Antonio a Montalcino is in the Pinacoteca.  As is the Madonna con Bambino fra i santi Giuliana, Pietro, Paolo, and Giusto, called the Polittico di San Giusto by Pietro Lorenzetti (see below)




San Paolo

San Pellegrino
Lost art
A Saint Michael Enthroned with Saints Anthony Abbot and John the Baptist by Angelo Puccinelli is in the Pinacotaca. As are panels from a altarpiece painted by Sassetta for the chapel of the Arte della Lana here around 1423/26.

 

San Pietro in Banchi
Saint Peter Enthroned, with six scenes from his life, by the 'Master of San Pietro' is in Pinacoteca

Santa Bonda
Suppressed in 1810
Lost art
The Polyptych of Santa Bonda by Sano di Pietro is in the Pinacoteca


Santa Chiara
An early 13th century Sienese Crucifix (with a still very triumphant Christ) is in Pinacoteca

 

 


 

fisiocriti and one by botanical gardens

07 P1040940 - mystery

 

 

 

 

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